Nicki Minaj has been quite active online since the release of her “Super Freaky Girl” remix on Friday, a new version of her first unaccompanied No. 1 featuring a roster of women rappers: City Girls’ Jt, Bia, Katie Got Bandz, Akbar V, and Maliibu Miitch. Since then, she’s posted several comments under an Instagram post by the Shade Room, streamed a dramatic edition of her Queen Radio show, engaged with fans harassing someone who criticized her (that should sound familiar) and claimed to be preparing a defamation lawsuit, at least,...
- 9/13/2022
- by Mankaprr Conteh
- Rollingstone.com
Ever have a random thought just enter your mind without knowing how it got there? That has to be the basis for wondering what happened to Kimberly Foster, who played the part of Cookie in One Crazy Summer. The movie does live up to its name as it’s the kind of movie in which John Cusack is the hapless hero that fails initially and becomes the savior near the end. Curtis Armstrong and Bobcat Goldthwait rounded out the cast nicely in this movie even though it’s one of those that you might see as a younger person and then forget
Whatever Happened to Kimberly Foster Aka Cookie from One Crazy Summer?...
Whatever Happened to Kimberly Foster Aka Cookie from One Crazy Summer?...
- 4/24/2019
- by Tom
- TVovermind.com
Tony Moore: Sculpture - Children of Light Sideshow Gallery, Brooklyn Though November 12th, 2017
Fallen empires, lost peoples, ancient cultures and what they once produced -- like fallen leaves and dead trees -- comprise the very ground we walk upon. What has passed before, what Tony Moore refers to as “the relationship of humanity and nature," that magnificent mix of man and mother earth is at the core of his content. There is that sense of monumentality, that massiveness of told and untold history that we might feel, what Moore gathers in through direct experience, cognitive or corporeal, as he builds up and cuts away with and within his earthen clay is his expression. He remains connected, as we all should, to the past as there is an endless life energy that both stirs and cleanses Moore’s thoughts and imaginings. To Moore, all cultures, all systems and societies past...
Fallen empires, lost peoples, ancient cultures and what they once produced -- like fallen leaves and dead trees -- comprise the very ground we walk upon. What has passed before, what Tony Moore refers to as “the relationship of humanity and nature," that magnificent mix of man and mother earth is at the core of his content. There is that sense of monumentality, that massiveness of told and untold history that we might feel, what Moore gathers in through direct experience, cognitive or corporeal, as he builds up and cuts away with and within his earthen clay is his expression. He remains connected, as we all should, to the past as there is an endless life energy that both stirs and cleanses Moore’s thoughts and imaginings. To Moore, all cultures, all systems and societies past...
- 10/2/2017
- by ddlombardi
- www.culturecatch.com
An Atlanta man will spend 40 years in prison after he was found guilty this week in a "soulless" anti-gay attack on a couple this spring, when he threw boiling hot water on them as they slept, according to multiple reports. Martin Blackwell was convicted of 10 counts - two counts of aggravated assault and eight counts of aggravated battery - in the February attack on Anthony Gooden and Marquez Tolbert, according to the Associated Press, Atlanta Journal-Constitution and Washington Post. He was found guilty on Wednesday, according to court records. The jury deliberated for about 90 minutes after the brief trial, according to the AP.
- 8/25/2016
- by Adam Carlson, @acarlson91
- PEOPLE.com
An Atlanta man will spend 40 years in prison after he was found guilty this week in a "soulless" anti-gay attack on a couple this spring, when he threw boiling hot water on them as they slept, according to multiple reports. Martin Blackwell was convicted of 10 counts - two counts of aggravated assault and eight counts of aggravated battery - in the February attack on Anthony Gooden and Marquez Tolbert, according to the Associated Press, Atlanta Journal-Constitution and Washington Post. He was found guilty on Wednesday, according to court records. The jury deliberated for about 90 minutes after the brief trial, according to the AP.
- 8/25/2016
- by Adam Carlson, @acarlson91
- PEOPLE.com
This is the fourth of a series of interviews that focus on Local 829's Scenic Artists’ "behind the scenes" talent who sculpt and paint in a variety of ways the sets we see on television, in movies and documentaries, on theater stages, and in the backgrounds of television and internet commercials.
I first met Bradley Rubenstein very early on in my days in the scenic arts, and it was immediately apparent that he was, and still is, respectfully dedicated to his work as a fine artist. I’ve followed his career closely since then, watching his art delving deeper and deeper into the human condition as he distorts and mutates his subjects. Recently, Rubenstein had one of his warped and mangled human forms in an exhibition titled Head that I curated for the Hampden Gallery at Umass Amherst.
The interview below begins just days before the installation of Head. The...
I first met Bradley Rubenstein very early on in my days in the scenic arts, and it was immediately apparent that he was, and still is, respectfully dedicated to his work as a fine artist. I’ve followed his career closely since then, watching his art delving deeper and deeper into the human condition as he distorts and mutates his subjects. Recently, Rubenstein had one of his warped and mangled human forms in an exhibition titled Head that I curated for the Hampden Gallery at Umass Amherst.
The interview below begins just days before the installation of Head. The...
- 2/3/2016
- www.culturecatch.com
I first came to know Kook Projects from curator Soojung Hyun, who asked me to participate in their inaugural show Kooky Cutters: Redefined Realities. What I find particularly intriguing about this gallery space, besides being new and not in your typical art district, is its discreetness. Founded and directed by Kate Kook and co-founded by its curator, WooJae Chung, Kook Projects stands as one of the more unorthodox spaces in New York City, as it has no street visibility. For their openings, this nicely converted ground floor apartment directs its visitors to enter through an iron-gated service entrance, down a set of stairs, and past the building’s recycling area to an alleyway that leads to a fenced-in courtyard and interior spaces.
Kook Projects’ current exhibition is a solo show by New York artist John Mendelsohn. In April of 2013 I reviewed one of Mendelsohn’s exhibitions at Sideshow Gallery in Brooklyn.
Kook Projects’ current exhibition is a solo show by New York artist John Mendelsohn. In April of 2013 I reviewed one of Mendelsohn’s exhibitions at Sideshow Gallery in Brooklyn.
- 12/19/2014
- by ddlombardi
- www.culturecatch.com
Bong Jung Kim has a very deliberate and consistent way of working. His intention, which is navigated through bold combinations and contentious juxtapositions of symbols, mixes metaphors as he vies for a deeper cord in our psyches. He is primal with respect to color and technique, yet he tells his tale with references to the darker side of the collective contemporary social condition and our quick to throw away and ever-upgrading technology.
To help unravel Bong Jung Kim’s iconography I posed a few questions that I hope will get to the heart of his content.
Ddl: Let’s begin with some of your earliest works, images of your studio and your various subjects and self-portraits executed in the 1980s. These, in many ways, are the most conventional with respect to media, technique, and representation. Yet, despite those rather familiar elements, you still managed to represent the figure as more than just a physical being.
To help unravel Bong Jung Kim’s iconography I posed a few questions that I hope will get to the heart of his content.
Ddl: Let’s begin with some of your earliest works, images of your studio and your various subjects and self-portraits executed in the 1980s. These, in many ways, are the most conventional with respect to media, technique, and representation. Yet, despite those rather familiar elements, you still managed to represent the figure as more than just a physical being.
- 12/10/2014
- by ddlombardi
- www.culturecatch.com
While touring the galleries in Hudson, NY, I happened upon the serigraphic prints of David Roth at Hallam Bruner gallery. Roth’s works, which has roots in Bauhaus, fall somewhere between Conceptual Art and what was once called Neo Geo. All this aside, it was the uncanny similarity to the newly made Led art I saw just the evening before in New York City that had me thinking about collective consciousness.
Kyujung Kim’s art is solely Conceptual. His Led installations are interactive by way of sensors, microcontrollers and various other electronic devices that are programmed to respond differently to each viewer. In the case of Roth, the square matrix of tightly formed, colored dots is static, yet they imply movement, suggest place and prompt thought. In Kim’s highly reactive patterns of LEDs we see electronic "life," an almost emotional, albeit deliberate response to the viewer’s presence. And in each response,...
Kyujung Kim’s art is solely Conceptual. His Led installations are interactive by way of sensors, microcontrollers and various other electronic devices that are programmed to respond differently to each viewer. In the case of Roth, the square matrix of tightly formed, colored dots is static, yet they imply movement, suggest place and prompt thought. In Kim’s highly reactive patterns of LEDs we see electronic "life," an almost emotional, albeit deliberate response to the viewer’s presence. And in each response,...
- 6/18/2014
- by ddlombardi
- www.culturecatch.com
An Interview with Hijo Nam
Hijo Nam’s art projects an ability to seek and know. With knowledge can come an understanding that harmony is inner peace. This would account for the contemplative nature of the forms and combinations she chooses, the colors and accents she adds, and the surfaces and textures she reveres. Nam’s search often brings her to the lost and forgotten remnant of an outdated utilitarian mechanism. In her hands, a resurrection of a spirit occurs, and as a result, the object is moved beyond its thingness. This process, this journey then becomes transportive and transcendent as the object’s past, present, and future become one.
I recently had the opportunity to interview Nam. We discussed her approach to the creation of her most impressive singular works, as well as her formidable installations.
Ddl: In your mixed media works Calling Itself Rhythm (2012), Ecdysis (2012), and Freedom from...
Hijo Nam’s art projects an ability to seek and know. With knowledge can come an understanding that harmony is inner peace. This would account for the contemplative nature of the forms and combinations she chooses, the colors and accents she adds, and the surfaces and textures she reveres. Nam’s search often brings her to the lost and forgotten remnant of an outdated utilitarian mechanism. In her hands, a resurrection of a spirit occurs, and as a result, the object is moved beyond its thingness. This process, this journey then becomes transportive and transcendent as the object’s past, present, and future become one.
I recently had the opportunity to interview Nam. We discussed her approach to the creation of her most impressive singular works, as well as her formidable installations.
Ddl: In your mixed media works Calling Itself Rhythm (2012), Ecdysis (2012), and Freedom from...
- 5/24/2014
- by ddlombardi
- www.culturecatch.com
Some fourty years after the original film was released, Anthony Brownrigg – son of the original films director S.F. Brownrigg – brings us the long-awaited sequel Don’t Look in the Basement 2, featuring special effects from the ever-reliable Marcus Koch (100 Tears) and starring Andrew Sensenig, Frank Mosely, Arianne Margot, Camilla Carr, Megan Emerick, Scott Tepperman, Jim O’Rear, Brady McInnes, Chester Rushing, Carolyn King, Kim Foster, Libby Hall and Willie Minor as Sam.
In 1973, in a small town in Texas, Stephens Sanitarium was the site of a grizzly tragedy. Doctor Stephens was brutally murdered, and with no one else in charge, the patients took over control of the asylum. The result was mayhem, and the eventual death of almost all the patients as well. The only surviving patient was found a week later alone in the building. And since then has been moved to a state institution and labeled a dangerous murderer.
In 1973, in a small town in Texas, Stephens Sanitarium was the site of a grizzly tragedy. Doctor Stephens was brutally murdered, and with no one else in charge, the patients took over control of the asylum. The result was mayhem, and the eventual death of almost all the patients as well. The only surviving patient was found a week later alone in the building. And since then has been moved to a state institution and labeled a dangerous murderer.
- 5/5/2014
- by Phil Wheat
- Nerdly
Linda Vallejo: Make 'Em All Mexican The Clemente Soto Velez Cultural and Educational Center
Color has impact. It can repel or attract, program our opinions, set moods, even control traffic. In some ways color effects us based on our individual experiences and environment, yet there remains a systemic interpretation, prejudice or preconception about color that concerned artist Linda Vallejo addresses in her series Make 'Em All Mexican. By employing the color brown to change the ethnicity of mostly American Icons that appear here in the form of dozens of sculptures and figurines, a few paintings and a number of photographs, prints and postcards, Vallejo subconsciously moves racial stereotyping of Latinos to our collective front and center.
(Actually, while I am at it, I must point out that in labeling the Icons 'American' I expose myself as North American-centric -- my apologies to South and Central Americans.) To be more specific,...
Color has impact. It can repel or attract, program our opinions, set moods, even control traffic. In some ways color effects us based on our individual experiences and environment, yet there remains a systemic interpretation, prejudice or preconception about color that concerned artist Linda Vallejo addresses in her series Make 'Em All Mexican. By employing the color brown to change the ethnicity of mostly American Icons that appear here in the form of dozens of sculptures and figurines, a few paintings and a number of photographs, prints and postcards, Vallejo subconsciously moves racial stereotyping of Latinos to our collective front and center.
(Actually, while I am at it, I must point out that in labeling the Icons 'American' I expose myself as North American-centric -- my apologies to South and Central Americans.) To be more specific,...
- 4/21/2014
- by ddlombardi
- www.culturecatch.com
Elizabeth: This year has dumped a load of food, fine art, and complete confusion all at once; Hanukkah converged with Thanksgiving for the first time in years sending us all to the trough –- now the Miami Fairs and Santa are on the way. As an art shipper, I'm on a cheap holiday in other people's misery, as the Sex Pistols put it. At the VIP opening of Art Basel, Kate Gilmore caved to Miami sexist traditions and low-balled her performance piece by having the women and men, who smashed ruby colored metal cubes with sledgehammers, perform bare-chested! Really, girl?
David: Unlike you, Elizabeth, I don't wanna holiday in the sun; so instead of Miami, I went to the opening of Michael Zansky's show titled, A Vacation on Mars with God, at Stux Gallery, where I met the artist and had a shot of vodka with Stefan Stux, who introduced me to the artist.
David: Unlike you, Elizabeth, I don't wanna holiday in the sun; so instead of Miami, I went to the opening of Michael Zansky's show titled, A Vacation on Mars with God, at Stux Gallery, where I met the artist and had a shot of vodka with Stefan Stux, who introduced me to the artist.
- 1/9/2014
- by Elizabeth Stevens
- www.culturecatch.com
New Hudson/Second Nature The Living Room, Cold Spring, NY The Hudson Valley was, to the Hudson River School of painters, a glorious and inspirational place. Today, after a century and a half of industrialization and development, a good bit of what once was is gone and the otherworldly beauty that defined the Hudson Valley has disappeared with it.
The five artists who have been selected for New Hudson/Second Nature by curator Suzanne Ball give you the idea that, despite the changes, the Hudson Valley remains a powerful draw for the more creative among us.
Doug and Mike Starn, two cutting-edge photographers who have owned art star status since the mid-1980s, take the most traditional route here. The directness of their work results in a certain amount of drama, as if the landscape holds many secrets and stories left to be told. Additionally, their familiar use of black and white prints,...
The five artists who have been selected for New Hudson/Second Nature by curator Suzanne Ball give you the idea that, despite the changes, the Hudson Valley remains a powerful draw for the more creative among us.
Doug and Mike Starn, two cutting-edge photographers who have owned art star status since the mid-1980s, take the most traditional route here. The directness of their work results in a certain amount of drama, as if the landscape holds many secrets and stories left to be told. Additionally, their familiar use of black and white prints,...
- 10/28/2012
- by ddlombardi
- www.culturecatch.com
It happens quickly -- discomfort in a public place -- and it is a very effective element to control, as you will experience with the work of Carrie Mae Weems. Early on in the exhibition at the Frist Center for the Visual Arts, Carrie Mae Weems: Three Decades of Photography and Video, Weems confronts her audience with her Aint Jokin’ series from 1987-88. Here she combines images and text that project racial stereotyping with works such as "Black Woman with Chicken" [left] and "Black Man Holding Watermelon." In another piece nearby we see a vintagepolitical drawing of Abraham Lincoln looking a bit disheveled, seated in a room filled with props and papers positioned above the question: What Did Lincoln Say After A Drinking Bout?. The answer-box nearby reveals: I Freed The What?. The exposure to this, and other bits of appropriated hurtful humor will surely prompt an uncomfortable feeling in most...
- 10/3/2012
- by ddlombardi
- www.culturecatch.com
Brenda Giegerich & Kaethe Kauffman Kathleen Cullen Gallery, NYC
Kaethe Kauffman’s archival inkjet and mixed media scrolls are comprised of suggestive vignettes, lucid passages, and familiar pairings. However, an elusive narrative emerges that defies that base. The main thread, parts of the body, registers in ways that are both intimate and particular, while the anonymity of the faceless figures gives each work a more symbolist tone. There are patterns here as well that suggest one cause of behavior that develops through repetition. It is also quite possible that Ms. Kauffman is commenting on how we target gesture and color, then detail in our daily observations when we make a judgment or speculation.
I like, in particular, the use of cursive writing paper in “Muscle Movement: Knee, Script Scroll,” where a sequence of the backs of bandaged and banded knees creates a long oval framework that surrounds the repetitive writing samples.
Kaethe Kauffman’s archival inkjet and mixed media scrolls are comprised of suggestive vignettes, lucid passages, and familiar pairings. However, an elusive narrative emerges that defies that base. The main thread, parts of the body, registers in ways that are both intimate and particular, while the anonymity of the faceless figures gives each work a more symbolist tone. There are patterns here as well that suggest one cause of behavior that develops through repetition. It is also quite possible that Ms. Kauffman is commenting on how we target gesture and color, then detail in our daily observations when we make a judgment or speculation.
I like, in particular, the use of cursive writing paper in “Muscle Movement: Knee, Script Scroll,” where a sequence of the backs of bandaged and banded knees creates a long oval framework that surrounds the repetitive writing samples.
- 8/17/2012
- by ddlombardi
- www.culturecatch.com
Nothing Like I Planned: The Art of John Mellencamp Tennessee State Museum
John Mellencamp doesn't see himself as an activist, which I suspect is his humility speaking. There is no escaping the fact that Mellencamp is political artist. And I say this with the utmost respect, as his views are heartfelt, witnessed first-hand and lifelong. With work ranging from the alarming "Strange Fruit" (2006), which points to past, horrific atrocities; to the straightforward "Coast to Coast" (2005), which reveals the continuing problems and degradation more and more are facing across our once-great nation, we see the thoughts and concerns of a passionate creator. And like one of his greatest influences, Max Beckmann, Mellencamp paints powerful, impassioned, difficult, and haunting imagery that will find its way deep into the mind of the viewer as it picks and prods memories, moods, and impressions most would like to overlook.
In Mellencamp's art, we often see...
John Mellencamp doesn't see himself as an activist, which I suspect is his humility speaking. There is no escaping the fact that Mellencamp is political artist. And I say this with the utmost respect, as his views are heartfelt, witnessed first-hand and lifelong. With work ranging from the alarming "Strange Fruit" (2006), which points to past, horrific atrocities; to the straightforward "Coast to Coast" (2005), which reveals the continuing problems and degradation more and more are facing across our once-great nation, we see the thoughts and concerns of a passionate creator. And like one of his greatest influences, Max Beckmann, Mellencamp paints powerful, impassioned, difficult, and haunting imagery that will find its way deep into the mind of the viewer as it picks and prods memories, moods, and impressions most would like to overlook.
In Mellencamp's art, we often see...
- 5/28/2012
- by ddlombardi
- www.culturecatch.com
Jane Wilson: New Paintings DC Moore Gallery
It is a rare gift to create a feeling of relief, of spiritual up-lift simply by painting a vast sky above a sliver of a horizon. The new paintings by Jane Wilson at DC Moore Gallery are a perfect example of this effect. And despite the low percentage of earthbound elements in most of Ms. Wilson’s work, her art has a very distinct ability of grounding the viewer. It is as if she offers an open invitation to proceed safely upward, to leave your fears, your day-to-day responsibilities and move to a place where you can float and experience anything from the electric energy of a pending storm, to the serenity of harmless cluster of white clouds without letting go completely all ties and comforts.
This, I suspect, is achieved by a consistency of painting technique, combined with an array of...
It is a rare gift to create a feeling of relief, of spiritual up-lift simply by painting a vast sky above a sliver of a horizon. The new paintings by Jane Wilson at DC Moore Gallery are a perfect example of this effect. And despite the low percentage of earthbound elements in most of Ms. Wilson’s work, her art has a very distinct ability of grounding the viewer. It is as if she offers an open invitation to proceed safely upward, to leave your fears, your day-to-day responsibilities and move to a place where you can float and experience anything from the electric energy of a pending storm, to the serenity of harmless cluster of white clouds without letting go completely all ties and comforts.
This, I suspect, is achieved by a consistency of painting technique, combined with an array of...
- 1/2/2012
- by ddlombardi
- www.culturecatch.com
On Duty: Odermatt, Metinides and Weegee Westport Arts Center
The first time I saw the color photograph "Untitled (primer plano de mujer rubia arollada e impactada contra un poste, Ciudad de Mexico)" (1979) [at left] by Enrique Metinides, it was in a press communication. At that time, I was reminded of the Alfred Hitchcock film Frenzy. This reaction, I suspect, was a coping method -- a way for me to imagine that it was not real by thinking it was a film still. You see, the photograph is of a woman who lies bleeding, dead or dying, crammed between two metal posts, a victim of a car crash. Next to her, a medic offers a jacket -- a gesture that elicits no response whatsoever in the victim.
Today, seeing this work in person at the exhibition On Duty, armed with the knowledge that it is an actual event, I am chilled. I can see her face so clearly,...
The first time I saw the color photograph "Untitled (primer plano de mujer rubia arollada e impactada contra un poste, Ciudad de Mexico)" (1979) [at left] by Enrique Metinides, it was in a press communication. At that time, I was reminded of the Alfred Hitchcock film Frenzy. This reaction, I suspect, was a coping method -- a way for me to imagine that it was not real by thinking it was a film still. You see, the photograph is of a woman who lies bleeding, dead or dying, crammed between two metal posts, a victim of a car crash. Next to her, a medic offers a jacket -- a gesture that elicits no response whatsoever in the victim.
Today, seeing this work in person at the exhibition On Duty, armed with the knowledge that it is an actual event, I am chilled. I can see her face so clearly,...
- 11/30/2011
- by ddlombardi
- www.culturecatch.com
Thomas Lyon Mills The Catacombs Luise Ross Gallery
"...where the temperature and humidity are unchanging, I share space with eight-inch phosphorescent mantises, translucent spiders and tiny moths that, attracted to my lights, cling to my clothes and hair."
These are the words of artist Thomas Lyons Mills, referring to the Roman catacombs – a place where he has spent countless hours accumulating visual and emotional data in both his sketchbook and his mind. The resulting mixed media meanderings through those most sacred of spaces yield masterful renderings of timeless textures that cover curious corridors riddled with subtle life forms and ages-old death. Like an in-between place, Purgatory, the waking dream or your everyday day dream, Mills's most effectively awakens with his art, your subconscious, your fears, your phobias, and your fantasies and breathes a thick atmosphere of sights, sounds, smells, and sighs that travel right through to your core.
In the...
"...where the temperature and humidity are unchanging, I share space with eight-inch phosphorescent mantises, translucent spiders and tiny moths that, attracted to my lights, cling to my clothes and hair."
These are the words of artist Thomas Lyons Mills, referring to the Roman catacombs – a place where he has spent countless hours accumulating visual and emotional data in both his sketchbook and his mind. The resulting mixed media meanderings through those most sacred of spaces yield masterful renderings of timeless textures that cover curious corridors riddled with subtle life forms and ages-old death. Like an in-between place, Purgatory, the waking dream or your everyday day dream, Mills's most effectively awakens with his art, your subconscious, your fears, your phobias, and your fantasies and breathes a thick atmosphere of sights, sounds, smells, and sighs that travel right through to your core.
In the...
- 11/19/2011
- by ddlombardi
- www.culturecatch.com
Trudy Benson: Actual/Virtual Mike Weiss Gallery, NYC Through November 12, 2011
As noted in the press release, when viewing the new paintings of Trudy Benson, one is easily reminded of the work of the Abstract Illusionists from the mid-1970s. The problem with that reference is it was never a particularly effective or compelling "art movement," if you could call Abstract Illusionism an art movement. The good thing is that Ms. Benson achieves much more success than her predecessors by adding variety and, to put it simply, chutzpah, as she employs bold paint applications in wild compositions.
At the heart of this work are her lack of inhibitions, her visible strength and endurance, and her ability to resist any basis of a narrative in favor of a push to a sort of spasmodically over-stimulated core of expression that fluctuates between dizzying and mesmerizing. One even imagines there are fleeting moments of...
As noted in the press release, when viewing the new paintings of Trudy Benson, one is easily reminded of the work of the Abstract Illusionists from the mid-1970s. The problem with that reference is it was never a particularly effective or compelling "art movement," if you could call Abstract Illusionism an art movement. The good thing is that Ms. Benson achieves much more success than her predecessors by adding variety and, to put it simply, chutzpah, as she employs bold paint applications in wild compositions.
At the heart of this work are her lack of inhibitions, her visible strength and endurance, and her ability to resist any basis of a narrative in favor of a push to a sort of spasmodically over-stimulated core of expression that fluctuates between dizzying and mesmerizing. One even imagines there are fleeting moments of...
- 10/27/2011
- by ddlombardi
- www.culturecatch.com
Rashaad Newsome: Herald Marlborough Chelsea, NYC Through December 3, 2011
Rashaad Newsome portrays culture -- Rap, Hip Hop, bling and booty, all that -- with extraordinary flair and formality. He is unrelenting. He appropriates, pushes and plows through volumes of data, and achieves brilliance, and there is no end in sight. As an art world figure, he is potent, powerful, precise, and poised to break through to the top as other multi-talented innovators have done before him.
At the opening of Herald, the mean age of the attending throngs was much younger than I am used to seeing. But it wasn’t just the fact that the crowd was younger, it’s that they were more engaged, much more enthralled than I am used to seeing; a bona fide buzz was in the air that carried out onto the streets.
One part of Mr. Newsome’s output -- performance art, dance and...
Rashaad Newsome portrays culture -- Rap, Hip Hop, bling and booty, all that -- with extraordinary flair and formality. He is unrelenting. He appropriates, pushes and plows through volumes of data, and achieves brilliance, and there is no end in sight. As an art world figure, he is potent, powerful, precise, and poised to break through to the top as other multi-talented innovators have done before him.
At the opening of Herald, the mean age of the attending throngs was much younger than I am used to seeing. But it wasn’t just the fact that the crowd was younger, it’s that they were more engaged, much more enthralled than I am used to seeing; a bona fide buzz was in the air that carried out onto the streets.
One part of Mr. Newsome’s output -- performance art, dance and...
- 10/24/2011
- by ddlombardi
- www.culturecatch.com
The art of Vincent Desiderio hinges between the frailty of life and the depth of the human spirit. He presents us with tragedy, beauty, bliss, and befuddlement, with unrestrained passion and supreme technique, and we are spellbound. There is quietness too, often in moments of truth, where freedom or failure hangs in the balance.
When looking at how Desiderio represents certain secondary and tertiary details in paint, we see a substantive push toward abstraction. In the background of “Spiegel im Spiegel” (2010), and in areas such as the lower left corner of “I Liberate” (2011), Desiderio challenges the limits of representation without losing hold of the facts.
He braces us with poignant narratives, with stark realities, and then hits us with a cacophony of luminous and lively marks in roofing tar, shellac and oil paint that break down the elements into a more subconscious impression of the world around us. This push...
When looking at how Desiderio represents certain secondary and tertiary details in paint, we see a substantive push toward abstraction. In the background of “Spiegel im Spiegel” (2010), and in areas such as the lower left corner of “I Liberate” (2011), Desiderio challenges the limits of representation without losing hold of the facts.
He braces us with poignant narratives, with stark realities, and then hits us with a cacophony of luminous and lively marks in roofing tar, shellac and oil paint that break down the elements into a more subconscious impression of the world around us. This push...
- 9/27/2011
- by ddlombardi
- www.culturecatch.com
Monkey Spoon
Kim Foster Gallery NYC
Through July 29th
Blurring the boundaries of time, memory, and materials, Monkey Spoon is a superb group show. Using non-cartoony pop-surrealist art, the show aims "to reveal something new through unusual combinations that expand the awareness of the viewer." The work in this show tackles significant issues, and instead of an instigating anger, a few abstract themes blend among the twelve artists' work: play, anonymity, and nostalgia.
While play is the work of childhood, sometimes the fun and games of adults reveal the unresolved nightmarish human nature within a culture. Fairy tales are prime fodder for this distortion, and John Howard's work is laden with our compulsive and greedy behavior. Caught in the act of addiction, with names such as "Tripical Obsession," "Gamblers Aides," and "Narcissus," his naughty pixies tempt humans, trapped in precarious balancing positions.
read more...
Kim Foster Gallery NYC
Through July 29th
Blurring the boundaries of time, memory, and materials, Monkey Spoon is a superb group show. Using non-cartoony pop-surrealist art, the show aims "to reveal something new through unusual combinations that expand the awareness of the viewer." The work in this show tackles significant issues, and instead of an instigating anger, a few abstract themes blend among the twelve artists' work: play, anonymity, and nostalgia.
While play is the work of childhood, sometimes the fun and games of adults reveal the unresolved nightmarish human nature within a culture. Fairy tales are prime fodder for this distortion, and John Howard's work is laden with our compulsive and greedy behavior. Caught in the act of addiction, with names such as "Tripical Obsession," "Gamblers Aides," and "Narcissus," his naughty pixies tempt humans, trapped in precarious balancing positions.
read more...
- 7/26/2011
- by alison_b
- www.culturecatch.com
One of the most popular nighttime soaps in television history, Dallas ran for an impressive 13 seasons (14 if you count the five-episode mini-series as a season). But, the CBS TV show was seriously running out of gas by the time it ended in May of 1991. The final season ranked 63rd in the ratings, a far cry from its earlier seasons when it was the most-watched series on television.
Still, the final season has plenty of drama, with storylines centered around murder, kidnappings, blackmail, seductions, and scheming galore. The cast includes Larry Hagman, Patrick Duffy, Linda Gray, Ken Kercheval, Howard Keel, Sheree J. Wilson, George Kennedy, Cathy Podewell, Kimberly Foster, Sasha Mitchell, and Barbara Stock. Barbara Eden (Hagman's co-star from I Dream of Jeannie) even stops by to play a former girlfriend of Jr's who's out for revenge.
Dallas regularly ended its seasons...
Still, the final season has plenty of drama, with storylines centered around murder, kidnappings, blackmail, seductions, and scheming galore. The cast includes Larry Hagman, Patrick Duffy, Linda Gray, Ken Kercheval, Howard Keel, Sheree J. Wilson, George Kennedy, Cathy Podewell, Kimberly Foster, Sasha Mitchell, and Barbara Stock. Barbara Eden (Hagman's co-star from I Dream of Jeannie) even stops by to play a former girlfriend of Jr's who's out for revenge.
Dallas regularly ended its seasons...
- 1/31/2011
- by TVSeriesFinale.com
- TVSeriesFinale.com
Anonymous
Kim Foster Gallery, NYC
December 2-24, 2010
When Lucifer fell from Grace, we are told, it was because, as God's once most favored creation, he had lost His countenance, and thus, his status. To remove, in other words, the sight of the face, whether God's, or the beloved who turns their back, is to ameliorate our existence. In Anonymous at Kim Foster Gallery, we see this theme woven into the works of artists working in a variety of mediums. Alejandra Villasmil paints, draws and collages over found images of people. Unlike a grafitti artist who attacks first the eyes (usually) then the mouth (adding words) of a subway ad, Vilasmil obscures the faces, e.g. identity, while leaving the eyes, those "windows to the soul," intact.
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Kim Foster Gallery, NYC
December 2-24, 2010
When Lucifer fell from Grace, we are told, it was because, as God's once most favored creation, he had lost His countenance, and thus, his status. To remove, in other words, the sight of the face, whether God's, or the beloved who turns their back, is to ameliorate our existence. In Anonymous at Kim Foster Gallery, we see this theme woven into the works of artists working in a variety of mediums. Alejandra Villasmil paints, draws and collages over found images of people. Unlike a grafitti artist who attacks first the eyes (usually) then the mouth (adding words) of a subway ad, Vilasmil obscures the faces, e.g. identity, while leaving the eyes, those "windows to the soul," intact.
read more...
- 12/17/2010
- by bradleyrubenstein
- www.culturecatch.com
You know, I feel like I’m being completely redundant every single week here. It seems that I start every Castle recap saying how awesome the episode was and how the show never disappoints me. But the fact is that my statement week after week is nothing but the truth. And guess what? Last night’s episode “3Xk” was no different. In fact, I think Castle reached a new level of awesomeness and it wasn’t solely because of Nathan Fillion’s presence, even though that sure helps.
“3Xk” was a highly anticipated episode and not only because Oz alum Lee Tergesen was a guest star. For months we have been hearing from the producers that Beckett and Castle would finally meet their match and he would be the one criminal who would outsmart them. The promo and sneak peeks released during the week leading up the episode, only made the fans even more curious.
“3Xk” was a highly anticipated episode and not only because Oz alum Lee Tergesen was a guest star. For months we have been hearing from the producers that Beckett and Castle would finally meet their match and he would be the one criminal who would outsmart them. The promo and sneak peeks released during the week leading up the episode, only made the fans even more curious.
- 10/27/2010
- by Luciana Mangas
- TVovermind.com
Ever feel like killing your cable company representative? Well, the creepy guy stalking cable rep Linda Russo seems to. Or maybe he just wants to know why his HD channels cost more. Anyway, we find poor Linda strangled in an alley, where Castle (Nathan Fillion) and Beckett (Stana Katic) think the circumstances of her death remind them of the Triple Killer. Lanie (Tamala Jones) finds green fibers in the neck wound from a green nylon rope, also part of the 3Xk's Mo. Captain Montgomery (Ruben Santiago-Hudson) was on the 3Xk case back in the day, when he killed three blond women within a certain number of days, and then disappeared. If only they'd had Castle working with them then. And apparently the profile of the 3Xk -- white, 25-45 and problems with his mother -- could very well be Castle, or a million other guys in NYC. Linda had a stalker at work,...
- 10/26/2010
- by mbijeaux@corp.popstar.com (Melissa Bijeaux)
- PopStar
Ever feel like killing your cable company representative? Well, the creepy guy stalking cable rep Linda Russo seems to. Or maybe he just wants to know why his HD channels cost more. Anyway, we find poor Linda strangled in an alley, where Castle (Nathan Fillion) and Beckett (Stana Katic) think the circumstances of her death remind them of the Triple Killer. Lanie (Tamala Jones) finds green fibers in the neck wound from a green nylon rope, also part of the 3Xk's Mo. Captain Montgomery (Ruben Santiago-Hudson) was on the 3Xk case back in the day, when he killed three blond women within a certain number of days, and then disappeared. If only they'd had Castle working with them then. And apparently the profile of the 3Xk -- white, 25-45 and problems with his mother -- could very well be Castle, or a million other guys in NYC. Linda had a stalker at work,...
- 10/26/2010
- by mbijeaux@corp.popstar.com (Melissa Bijeaux)
- TVStar
Victor Matthews: Alter Ego Paintings
Wendt Gallery, NYC
I am currently working on two curatorial projects. Nature Calls opens this July at Sica in Long Branch, NJ. The second show, which opens this December at Kim Foster Gallery in Chelsea, brought me to today's meeting at D.C. Moore Gallery in midtown. My goal was to discuss and select works by the incomparable Whitfield Lovell. After my successful tête-à-tête with Heidi Lange, I took a quick look at D.C. Moore’s current show of works by Katherine Bowling, an accomplished painter whose forte is to capture the small miracles that sunlight produces on such things as dewy grass and tree blossoms.
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Wendt Gallery, NYC
I am currently working on two curatorial projects. Nature Calls opens this July at Sica in Long Branch, NJ. The second show, which opens this December at Kim Foster Gallery in Chelsea, brought me to today's meeting at D.C. Moore Gallery in midtown. My goal was to discuss and select works by the incomparable Whitfield Lovell. After my successful tête-à-tête with Heidi Lange, I took a quick look at D.C. Moore’s current show of works by Katherine Bowling, an accomplished painter whose forte is to capture the small miracles that sunlight produces on such things as dewy grass and tree blossoms.
read more...
- 6/13/2010
- by ddlombardi
- www.culturecatch.com
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